Advances in Chemical Science Volume 3 Issue 1, March 2014

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A Fiber Optic Reflection-UV/Vis/NIR-System

for Non-Destructive Analysis of Art Objects
Wilfried Vetter*1, Manfred Schreiner2
Institute of Science and Technology in Art, Academy of Fine Arts Vienna
Schillerplatz 3, A-1010 Vienna, Austria
*1

w.vetter@akbild.ac.at; 2m.schreiner@akbild.ac.at

Abstract
A fiber optic measuring system for non-destructive pigment
analysis using reflection-Ultraviolet/Visible/Near-infrared
(UV/Vis/NIR) spectroscopy and its applicability to 19th
century watercolor paintings by Moritz M. Daffinger (17901849) were presented. The spectra obtained by that system
enabled the identification of both organic and inorganic
pigments without the risk of damage or contamination of the
objects analyzed. Evaluation of the measured spectra was
carried out using self-built libraries consisting of reference
spectra derived from original 19th century watercolor
materials as well as materials of the technical collection of
our institute (ISTA). Complementary investigations were
carried out with reflection-Fourier transform infrared (FTIR)
spectroscopy and X-ray fluorescence (XRF). These
spectroscopic measurements facilitated the evaluation of
UV/Vis/NIR spectra and strongly improved the reliability of
the results. The results obtained allowed not only the
identification of materials but also statements regarding the
specific paint technique of the artist.
Keywords
Reflection-UV/Vis/NIR; Fiber Optics; Watercolor Paintings; 19th
Century Pigments; Reflection-FTIR; XRF

Introduction
Due to the unique character of many artifacts, material
analysis has to be preferably performed in a nondestructive or non-invasive way. Several spectroscopic
methods have been used for this purpose, including
UV/Vis/NIR, FTIR, Raman and XRF spectroscopy. In
the field of art and cultural heritage, non-destructive
reflection-UV/Vis/NIR spectroscopy has been applied
in various approaches for pigment identification [Rosi
et al. (2010); Leona & Winter (2001); Dupuis et al.
(2002)] as well as the study of degradation processes
[Acquaviva et al. (2010); Koperska et al. (2010);
Kampasakali & Varella (2008); Domenech-Carbo et al.
(2011)], mainly in combination with other techniques
mentioned before. The instrumentation utilized
strongly depends on the particular analytical question
[Johnston-Feller (2001)]. The literature shows that

materials identification has been carried out using

either fiber optics [Miliani et al. (2007); Dupuis &
Menu (2006); Elias et al. (2006); Appolonia et al. (2009)]
or integration spheres [Bruni et al. (2008); Bonizzoni et
al. (2008); Bacci et al. (2009); Sotiropoulou et al. (2008)].
Compared to integration spheres, the main advantage
of fiber optics is the possibility to avoid contact to the
analyzed surface and thus such devices are frequently
employed for the identification of pigments on
paintings. Additionally, colorimetric analysis often
was performed using hand-held instruments with
integration spheres [Acquaviva et al. (2008);
Acquaviva et al. (2010); Sotiropoulou et al. (2008)]
which enable diffuse illumination of an object. Several
measuring geometries have been implemented for
fiber optic instruments in order to minimize the
contribution of specular reflection, e.g. 0/45
[Acquaviva et al. (2008); Acquaviva et al. (2010)] or
back-scattering configurations with angles of 45 [Rosi
et al. (2010); Miliani et al. (2007)] and 22 [Dupuis et al.
(2002); Dupuis & Menu (2006); Elias et al. (2006)].
Another important parameter is the spectral range,
which can be evaluated, depending on the
characteristics of the light source and the range of the
detector. In colorimetric analysis, only the visible
range (about 380-780 nm) is evaluated usually,
whereas for pigment identification also the adjoining
UV and NIR regions may provide valuable
information. White pigments may be differentiated by
their UV absorption and blue pigments by NIR, as
Prussian blue and azurite show remarkable absorption
beyond 780 nm, whereas cobalt pigments, ultramarine
and indigo do not.
In this study, our aim was the identification of
pigments on watercolor paintings which show a
relatively simple composition compared to other
artifacts: paper is used as support and the paint layer
consists of the pigments and the binding medium
which acts as a protective colloid, usually Arabic gum
with minor contents of glycerol and oxgall [Kittel et al.

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Advances in Chemical Science Volume 3 Issue 1, March 2014

(1960); Zerr & Rbencamp (1906); Drner (2006)]. As

the paint layer itself is very thin and translucent in
comparison to easel paintings and fine details are
encountered frequently on the paintings, analytical
techniques with high sensitivity and high spatial
resolution are required, as it is the case for reflectionUV/Vis/NIR. In order to meet these requirements, a
fiber optic reflection-UV/Vis/NIR system was
constructed which allows safe and accurate analysis of
the paintings and thus providing information about
the materials used by an artist. In addition to the
acquired chemical information, the UV/Vis/NIR
measurements document the actual visual state
(lightness, chroma and hue) at the measuring points of
the objects investigated. These data can be used for
quantification of color changes in the future due to
environmental influences, e.g. light exposure in
exhibitions. In addition to UV/Vis/NIR, reflection-FTIR
and X-ray fluorescence (XRF) analysis was employed,
in order to obtain comprehensive information and to
complement the reliability of the results obtained.

the Academy of Fine Arts Vienna [Jenni et al. (1986)].

All paintings date from the period between 1841 and
1849. In order to obtain additional information about
optical properties and the distribution of pigments
used for the paintings, near-infrared and UVfluorescence photographic images were taken and
considered for the selection of the measuring points.
Reflection-UV/Vis/NIR
The optical system consists of a 75 W xenon short arc
lamp (Ushio Inc., Japan) which is housed in a
monochromator (type CLX 75-2 of J&M Analytik AG,
Aalen, Germany). Two quartz fiber optic cables (J&M,
Aalen, Germany) direct the beam from the source to
the measuring point on the object (1250 m core
diameter, length 2 m) and from the object to the
spectrometer (600 m core diameter, length 2 m). The
utilized spectrometer MSP 400 (J&M) is equipped with
a 256 diode array detector which allows
measurements in the region from 300-1150 nm.
The fiber optic cables are fixed to a measuring head in
0/45 geometry by a self-built component which was
constructed for a measuring distance of 5 mm between
the fiber optics and the object (Figure 2).

FIG. 1 WATERCOLOR PAINTING PRIMULA VERIS ACAULIS

L. BY MORITZ M. DAFFINGER, DATED 1841-1849, 289 x 209 MM2,
INV. NO. HZ 7662. THE NUMBERS INDICATE MEASURING
POINTS 2 AND 3, WHERE BARIUM CHROMATE AND INDIAN
YELLOW WERE DETECTED. THE CHARACTERISTIC YELLOW
FLUORESCENCE OF INDIAN YELLOW IS SHOWN TOP LEFT

Experimental
Objects
We analyzed 16 watercolor paintings by Moritz M.
Daffinger (1790-1849), showing detailed presentations
of endemic flowers of the Austrian flora; an example is
shown in Figure 1. The paintings depicting a high
variety of blue, yellow, green and red hues were
selected from 415 objects in the Graphic Collection of

FIG. 2 FIBER OPTIC MEASURING HEAD. MAIN

CONSTRUCTION ELEMENTS ARE: 0/45-MOUNTING FOR THE
QUARTZ FIBER OPTIC CABLES (A), COLLIMATOR MADE FROM
LATEX (B), LASER POINTER FOR PRECISE POSITIONING (C),
BATTERY COMPARTMENT (D), SWITCH FOR LASERS ON/OFF
(E) AND XZ-AXIAL POSITIONING MECHANISM (F). RED LINES
SYMBOLIZE THE LASER BEAMS.

The applied measuring geometry ensures that mainly

diffusely reflected light reaches the detector [JohnstonFeller (2001)]. The measuring head further is equipped
with a xz-axial component (as described by Leona and

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Winter (2001) from the mechanical stage of a

microscope). That enables a precise linear translation
in the two directions perpendicular to each other and
can be attached to various positioning devices
depending on the particular requirements of the
measured objects. Two laser pointing devices are used
for precise positioning of the beam as well as control
of the correct distance of the fiber optics to the object
(Figure 2). The crossing point of the red lasers (672 nm,
optical output power less than 1 mW, IMM
Metechnologie GmbH, Unterschleiheim, Germany)
coincides with the beam from the light source in the
intended measuring distance of 5 mm from the
anterior part of the fiber optic cable to the selected
measuring point on the object. In order to prevent
light induced damage of the analyzed areas, a
collimator was used instead of a focusing lens. Figure
2 shows the pinhole collimator on the fiber optic cable
by which a beam diameter of 1.5 mm on the object was
achieved. It was manufactured inhouse by dipping an
insulin syringe with a 0.3 mm needle (Micro-Fine,
Becton Dickinson, Le Pont de Claix, France) in black
body painting latex (Beate Uhse AG, Flensburg,
Germany) resulting in an aperture of 0.3 mm of the
component as well.

1000 nm by averaging 3 scans with a total integration

time of 2-2.5 seconds relative to both a white standard
(J&M) for documentation of the objects and the paper
support for the identification of pigments and dyes in
order to eliminate a potential influence of the
yellowish support (depending on the paint layer
characteristics). The dark current was measured and
subtracted from each reference and sample measurement. The spectra obtained were evaluated using
panorama software (LabCognition, Kln, Germany)
and self-built reflection-UV/Vis/NIR libraries. The first
derivative of the spectra was calculated as well in
order to highlight spectral features.

The watercolor paintings were analyzed using a

positioning device for planar objects with a size of up
to 110 x 70 cm2 (Figure 3). It consists of two parallel
arranged aluminum frames where the object is
attached to a plywood panel (covered with a black
fabric) in a vertical position. An xy-positioning
mechanism with a slidable element was used to move
the measuring head.

Reflection-UV/Vis/NIR Libraries
The spectra of the libraries are based on measurements
of original 19th century watercolors available in our
institute. The watercolors were applied on chromatography paper discs (5 mm diameter, Whatman
International Ltd., UK) in various concentrations (0.38,
0.77, 1.53, 3.06, 6.12, 9.18, 12.24 and 15.31 g pigment
per mm2), requiring 1 mg original sample material.
Additional pigments not included in the set of the
historic materials were used to obtain reference
spectra. For this purpose, pigments from the technical
collection of our institute were mixed with Arabic
gum and applied on paper discs analogous to the
historic materials. Reference spectra were collected
with a beam diameter of 3 mm by averaging 100 scans
with a total integration time of 0.5 seconds.
In addition, several reference spectra were obtained by
analyzing small particles (<0.2 mm) from an original
paint box of Moritz M. Daffinger (available in the
Library of the Academy of Fine Arts Vienna) which
were splintered from the watercolor cakes. After
identification by use of FTIR microscopy (Spectrum
2000 with microscope i-series, Perkin Elmer, Shelton,
CT, USA) on a diamond cell, the particles were spread
on wet chromatography paper and measured (after
drying) in reflection mode by use of the spectrometer
and light source mentioned in the previous chapter
coupled to a microscope (Axioplan 2, Zeiss
MicroImaging, Jena, Germany).
Reflection-FTIR

FIG. 3 SELF-DESIGNED AND SELF-BUILT SYSTEM FOR NONINVASIVE REFLECTION-UV/VIS/NIR SPECTROSCOPY OF

PLANAR ART OBJECTS WITH VERTICALLY ADJUSTABLE
MEASURING HEAD (A) AND A SLIDABLE ELEMENT
MOUNTED ON ROLLER BEARINGS (B).

Reflection spectra were measured in the range of 350-

Measurements were carried out using a Bruker

ALPHA spectrometer with external reflection module
(Bruker Optics, Ettlingen, Germany). This accessory
utilizes mirrors to direct the beam from the source to
the object (spot size ca. 4 mm) and from there to the
detector. Spectra were obtained using the average of

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Advances in Chemical Science Volume 3 Issue 1, March 2014

64 scans in the region of 375-4000 cm-1 with a

resolution of 4 cm-1. The measuring geometry is
20/20 and hence specular reflection usually
dominated the appearance of the spectra [Giffiths & de
Haseth (2007)]. In order to enable a comparison of the
spectra obtained in the reflection mode with spectra of
the database used (IRUG - Infrared and Raman Users
Group Spectral Database, Edition 2007, Philadelphia,
PA, USA; http://www.irug.org/), Kramers-Kronig
transform was applied to the reflectance spectra
resulting in absorption index spectra [Giffiths & de
Haseth (2007)]. Systematic investigations carried out
on mockups as well as on contemporary acrylic
paintings have revealed that this transformation yields
more reliable results than a Kubelka-Munk
transformation [Vetter & Schreiner (2011)]. Moreover,
the materials used for the UV/Vis/NIR library were
measured to build up a reflection-FTIR library.

This should be considered particularly in case of

outdoor UV/Vis/NIR measurements where appreciable variations of lightness may occur in a short time.

Table 1 summarizes the results of the reflectionUV/Vis/NIR analysis and complementary reflectionFTIR and XRF measurements.

Results and Discussion

10

Cd S

Ba Cr

r-FTIR

XRF

Co

Fe

Red lead

Cinnabar

Indian yellow

Cochineal

Barium yellow

r-UV/Vis/NIR

Cadmium yellow

With regard to quantitative measurements, the 0/45

geometry is not an optimal solution because higher
deviations from the Kubelka-Munk-theory have been
observed for strongly absorbing materials than with
other geometries, e.g. diffuse/0 [Kortm (1969)].
Nevertheless, usable results for a qualitative
evaluation of the data can be obtained with this setting
and furthermore, only this geometry allows a circular
measuring spot for precise illumination of small areas.
Due to the narrow beam diameter, the light intensity is
relatively weak and alternating ambient light may
negatively influence the quality of the spectra.
Therefore, spectra are preferably collected in a
constant ambient illumination, ideally in a dark room.

Gamboge

The results of our analyses demonstrated that high

quality reflection-UV/Vis/NIR spectra could be
obtained by using the presented measuring system
(Figures 4-7, 9 and 10). The utilized positioning device
enabled quick and precise operation and thus high
measuring rates could be achieved.

TABLE 1 EXPERIMENTAL RESULTS

Hookers green

A self-built system was available for energy dispersive

XRF measurements [Desnica & Schreiner (2006)]. It
utilizes an Oxford XTF5011 50W-Rhodium x-ray tube
(50 kV, 1 mA) and a Rntec XFlash 1000 silicon driftchamber detector (SDD) with a resolution of 155 eV. Xray tube and detector are fixed at a 0/45 geometry.
The beam diameter is 1 mm and the spectra are
acquired during a measuring time of 100 seconds
usually.

Cobalt blue

XRF

The set of pigments identified included cobalt blue,

Prussian blue, Gamboge, cadmium yellow, barium
yellow, Indian yellow, cochineal, cinnabar and red
lead. In general, the evaluation of the obtained spectra
was simplified by the fact that only a limited number
of pigments were available for artists in the 19th
century [Tschelnitz (1857)]. The use of reference
spectra with various pigment concentrations was
advantageous since concentration dependent shifts of
absorption bands could be observed. Identification of
earth pigments and ochres by reflection-UV/Vis/NIR
was not possible due to the great variety of color
shades depending on their provenance and the
manufacturing process as well as the lack of
characteristic features in their spectra. The applied
methods further did not allow the identification of
black pigments, it only was possible to exclude carbon
black in one case on the painting Gentiana acaulis L.
in consequence of the UV/Vis/NIR spectrum, which
showed strong reflection of near infrared radiation on
a black area. With respect to these limitations, an
additional use of Raman spectroscopy would be
highly desirable [Bruni et al. (2008); Bell et al. (1997)].

Hg

Pb

As shown in Figure 4, cobalt blue (CoO.Al2O3) could

be clearly identified from the reflection-UV-Vis/NIR
spectrum of a blue measuring point on the painting
Myosotis palustris and the result was confirmed by
reflection-FTIR and XRF detecting cobalt. Furthermore,
the spectra measured on the painting show an
increasing absorption towards shorter wavelengths
(browning) compared to the reference material, which
can not be excluded by measuring relative to the paper
support. There are several possible explanations for
that result: either the artist mixed the hue by intention,

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or it results from an alteration of the pigment.

Furthermore, the water and/or brush used to apply the
blue color may have been contaminated by other
colors applied before and thus the browning would
result from aspects of the paint technique. As a similar
effect could be observed at several other measuring
points (e.g. in Figure 6 barium chromate), the last
explanation seems to be the most probable.

original materials of the artist showed a reflection

maximum at 524 nm, whereas the correlating
maximum of the measured spectrum was slightly
shifted to longer wavelengths (531 nm), indicating a
comparatively higher content of Gamboge. The
identification of Prussian blue and Gamboge was
confirmed by reflection-FTIR spectroscopy and
Prussian blue also by XRF detecting Fe. In addition to
green areas, Gamboge could be determined as well in
a yellow area of the watercolor painting Gentiana
acaulis L. by UV/Vis/NIR and reflection-FTIR.

FIG. 4 UV/Vis/NIR SPECTRA OF MEASURING POINT 4 ON THE

PAINTING MYOSOTIS PALUSTRIS RELATED TO REFERENCE
WHITE STANDARD (BLUE), RELATED TO THE PAPER SUPPORT
(RED) AND COBALT BLUE (inv. no. 87) OF THE MATERIAL
COLLECTION IN OUR INSTITUTE (BLACK).

Although the preparation of barium chromate (BaCrO4)

was first described by Vaquelin in 1809, it was first
mentioned by Field in 1835 for use as a pigment
[Carlyle (2001)]. It is further reported that it was not
used commercially as yellow paint in the mid 19th
century [Drner (2006); Eastaugh et al. (2008)].
However, in the yellow parts (measuring point 3 in
Figure 1) of the painting Primula veris acaulis L.
barium chromate could be clearly identified. As
depicted in Figure 6, the first derivative of the
reference reflection-UV/Vis/NIR spectrum showed an
inflection point at 434 nm, which was significantly
lower than that for most other yellow pigments used
in the 19th century and thus characteristic for barium
chromate. Even though this inflection point was
slightly shifted to 442 nm in the measured spectrum,
the presence of barium chromate at this measuring
point can be concluded, as the identification of barium
chromate could be proved by reflection-FTIR and XRF
(detection of Ba and Cr).

FIG. 5 UV/Vis/NIR SPECTRA OF A GREEN AREA IN THE

PAINTING SOLANUM DULCAMARA L. (RED), HOOKERS
GREEN REFERENCE (BLACK), PRUSSIAN BLUE REFERENCE
(BLUE) AND GAMBOGE (YELLOW) WHICH WAS IDENTIFIED
ON THE PAINTING GENTIANA ACAULIS L..

Prussian blue (Fe4[Fe(CN)6]3) was detected together

with Gamboge on several paintings, e.g. Solanum
Dulcamara L. (Figure 5). A mixture of these pigments
known under the name Hookers green was available
in the mid 19th century. Gamboge is a resinous organic
material derived from trees of the family Guttiferae,
containing 70-80% resin (xanthonoide constituents,
mainly gambogic acid) and 15-25% water-soluble gum
[Eastaugh et al. (2008)]. It could not be concluded from
our data whether the artist utilized an already blended
Hookers green or mixed Prussian blue and Gamboge
during the painting process. It was however certain
that already blended Hookers green was identified
among the original materials of the artist. As depicted
in Figure 5, the Hookers green reference from the

FIG. 6 UV/Vis/NIR SPECTRA FROM MEASURING POINT 3 ON

THE PAINTING PRIMULA VERIS ACAULIS L. IN FIGURE 1
(RED) AND BARIUM CHROMATE REFERENCE FROM THE
MATERIAL COLLECTION IN OUR INSTITUTE (BLACK).

In the same painting on measuring point 2 (Figure 1),

Indian yellow (magnesium salt of euxanthic acid)
[Eastaugh et al. (2008)] could be detected by reflectionUV/Vis/NIR (Figure 7) and reflection-FTIR as the
measured spectra were similar to the spectra obtained
from an Indian yellow particle which was found in the
wallet with watercolor cakes of Moritz Daffinger.
Although barium chromate was identified in addition
11

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Advances in Chemical Science Volume 3 Issue 1, March 2014

to Indian yellow by reflection-FTIR (Figure 8) and XRF

at that measuring point, no indication of it could be
obtained by reflection-UV/Vis/NIR. From this, it may
be concluded that the reflection-UV/Vis/NIR signal
from this measuring point mainly originated from a
top layer of Indian yellow, whereas also a contribution
of barium chromate from subjacent layers (XRF) or
surrounding areas (due to the larger spot size of
reflection-FTIR) was detected. In fact, the
stereomicroscopical investigation as well as the UVfluorescence image (Figure 1) suggested that Indian
yellow was used to overpaint a barium chromate layer.

Cochineal (carminic acid lake pigment) which mainly

was used in form of the alum lake [Tschelnitz (1857)],
could be identified by its characteristic UV/Vis/NIR
spectrum (Figure 9) as well as by reflection-FTIR on
the painting Sempervivum arachnoideum L.. A
confirmation by XRF was not possible since
measurements in air do not allow the detection of the
elements with low atomic numbers (e.g. C, O and Al).
Nevertheless, the XRF results (detection of K, Ca, Pb)
support the UV/Vis/NIR-results because cinnabar
(HgS), which shows similarities to cochineal in the
UV/Vis/NIR spectrum at about 600 nm, could not be
detected at the measuring point and can be excluded
therefore. Moreover, cochineal was identified in
combination with cobalt blue in several paintings (e.g.
Myosotis palustris).

FIG. 7 UV/Vis/NIR SPECTRA FROM MEASURING POINT 2 ON

THE PAINTING PRIMULA VERIS ACAULIS L. IN FIGURE 1
(RED) AND INDIAN YELLOW REFERENCE FROM ORIGINAL
PAINT MATERIAL OF THE ARTIST (BLACK).
FIG. 9 UV/Vis/NIR SPECTRA FROM A RED MEASURING POINT
ON THE PAINTING SEMPERVIVUM ARACHNOIDEUM L.
(RED) VS. COCHINEAL REFERENCE KREMER PIGMENTS, NO.
421008 (BLACK) AND COCHINEAL REFERENCE FROM
ORIGINAL PAINT MATERIAL OF THE ARTIST (BLUE).

FIG. 8 KRAMERS-KRONIG TRANSFORM OF THE REFLECTIONFTIR SPECTRUM FROM MEASURING POINT 2 ON THE
PAINTING PRIMULA VERIS ACAULIS L. IN FIGURE 1 (RED)
VS. INDIAN YELLOW REFERENCE FROM ORIGINAL
MATERIAL OF THE ARTIST (BLACK) AND BARIUM
CHROMATE REFERENCE IRUG MP0296 (YELLOW) FROM THE
IRUG SPECTRAL DATABASE (http://www.irug.org/).

Cadmium yellow which was not commercially

available until the 1840s [Harley (1982)], could be
identified in the painting Arnica Montana L., where
a spectrum was obtained similar to the reference
sample Kremer Pigments, no. 21050. Depending on the
manufacturing process cadmium yellow may show a
variety of hues [Loya (1988)] and therefore additional
analysis with XRF detection of Cd and S was necessary
to prove the identification.
12

Cinnabar (HgS) and red lead (Pb3O4) were identified

on the painting Physialis Alkekengi L. by reflectionUV/Vis/NIR (similarities to reference spectra of
cinnabar of the material collection of ISTA, inv. no. 192,
and red lead of ISTA, inv. no. 178) and XRF (detection
of Hg and Pb). The first derivative of the reflectionUV/Vis/NIR spectrum (Figure 10) showed an
inflection point at 586 nm characteristic for cinnabar
and a shoulder at 564 nm characteristic for red lead.

FIG. 10 UV/Vis/NIR SPECTRA FROM A RED MEASURING POINT

ON THE PAINTING PHYSIALIS ALKEKENGI L. (RED) vs.
CINNABAR REFERENCE ISTA, INV. NO. 192 (BLACK) AND RED
LEAD REFERENCE ISTA, INV. NO. 178 (BLUE).

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As XRF-detection of Hg and Pb could be interpreted as

cinnabar and lead white as well as cinnabar and red
lead, this example demonstrated that reflectionUV/Vis/NIR spectroscopy may provide an important
contribution to an accurate interpretation, although
the spectral features of these red pigments are not
overly characteristic. XRF detection of sulfur was not
possible due to coincidence of the characteristic peaks
of the S K-lines (2.308 keV), Hg M-lines (2.195 keV)
and Pb M-lines (2.271 keV). A reflection-FTIR analysis
of the paint layer at this measuring point could not be
achieved as the spectrum only showed vibration
bands characteristic for Arabic gum, derived from a
transparent top layer which was applied by the artist
in order to achieve an enhanced spatial effect.

Natural Dyes. Appl. Phys. A: Mater. Sci. Process. 100

Conclusions
The r-UV/Vis/NIR spectra obtained by means of the
measuring system presented enable non-destructive,
accurate and safe identification of several organic and
inorganic historic pigments on 19th century watercolor
paintings, especially in combination with complementary non-destructive methods such as reflection-FTIR
and XRF. The measuring head allows for easy
positioning and is capable to integrate optical fibers of
any kind up to 1 cm in diameter, thus the system
potentially could be utilized as well for other fiber
optic techniques, e.g. FTIR and Raman spectroscopy.
The applied minimal sampling techniques for
reference materials allow building up spectral libraries
from minute samples with almost not visible changes
of the materials analyzed.
Furthermore, the results obtained in this work
strongly contributed to the knowledge about the paint
technique of 19th century artists, documented the
actual visual state of the artwork and provided a
scientific basis for preventive conservation strategies.
ACKNOWLEDGMENT

The authors would like to express their sincere thanks

to Dr. Monika Knofler, Director of the Graphic
Collection of the Academy of Fine Arts Vienna and Dr.
Beatrix Bastl, Director of the Library of the Academy
of Fine Arts Vienna, for the possibility to carry out
measurements on original watercolor paintings and
paint materials of Moritz Daffinger, as well as their
cooperation.

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